Artsdiscourse

Ifaka Jesse The violence in Ifaka Jesse’s photographs is raw, dramatic, intense and expressive. They are a reflection of the societal rumbles that occupies the pages of newspapers, screens of televisions and social media walls. He explores social commentaries by listening to social banters and maelstroms in his environment. Jesse, whose works are born out of his passion for the oppressed persons in the society, found out that the society has become comfortable with oppression and humiliation as domestic violence shows no sign of abating. “I once saw a young couple living as rivals under the same roof and nobody said anything,” he says. In the photographs, we see a lot of actions- a hand holds a female victim by the mouth, two hands strangles a female victim by the neck, a foot stands on a female face, an all-men fighting scene and a man strangling another man. They look like they have been stripped out of a movie. If a spectator pays attention, he can begin to ident...

By: Chinezim Moghalu Chris History. Memory. Futurism. As regards “Nsukka School”, the first connotes threshold; the nucleus, reminiscence and experience; the last, a coalescing of aspirations, hope, achievements and manifestations from the present- coupled with acknowledgement of the obvious challenges that escort them. Nsukka School (the department of Fine and Applied Arts, University of Nigeria, Nsukka) after fifty years, have witnessed a robust history which formally spans fifty-six years. In this trajectory, vast significant events and remarkable landmarks have taken place, which becomes rehashing and exhaustible to list. The Art School has effortfully and resolutely survived, in a radically and bold undertone, the coastal and tidal waves that polices an Art School with an ancestral creative ideology, philosophy and pedagogy which opposes and confronts Western art pedagogy- the Uli aesthetics. In like manner, “Nkoli Ka” (recalling is greatest), becomes a veritab...